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For my personal project, I want to do a voice over reading of the Tell Tale Heart story by Edgar Allen-Poe with added sound effects to really create immersion and get the listeners lost in the story. The reason for doing this is so that I can build on my voice acting skills and improve on them further. It will also give me a new skill to learn by adding my own sound effects by use of Foley and finding sounds online, I will then be learning how to edit these sound effects using garage band and other programs similar.
Script Planning
scan_friens_2025-04-03-14-42-41.pdfscan_friens_2025-04-03-14-42-59.pdfscan_friens_2025-04-03-14-43-18.pdfPlanning for my Voice-Over
To start off my planning, I printed the script off and read through the entire story, annotating the script with all of the sound effects i want to add as well as how I want to act out the story with my voice.
The type of atmosphere I want to create is eerie and suspenseful so the way I could show this happening with my voice is putting on a slightly lower pitch and using a slow pace during the beginning but then using a quicker pace when I reach the climax of the story, raising my voice alongside the character in the script and try to match the madness of how the character acts.
I want to match the eerie/ horror tone of the story by adding sound effects that I think will complement and improve the experience so having some atmospheric noise or using old broken-up music to unnerve the audience. I would like to try to add some voice altering in the voice over as well so having an old time sounding mic effect over my voice to really showcase the age and era of the story. I also want to add sound effects that will highlight certain key points in the story so adding a clock ticking to build up suspense or using a vulture screech to shake the audience up but the key sound I want to use is a heart-beat pounding in the background and even editing how fast or how loud the heart-beat gets during the climax so the audience knows and hears what the character is experiencing.
I will make sure that the volume for certain sound effects or that my voice isn't so loud that it hurts the audience's ears and throws them out of the mood that I want to be set, so I will listen to the entire audio file first and keep the volume for all of the sound effects and voice is at a manageable, medium range level and doesn't go high enough to injure people's ear drums.
Background scary music or unnerving atmosphere
Vulture screech x2, door latch clicking, lantern clinking, grandfather clock ticking, slight groan, heart-beat, old man yell, 4 gongs of Grandfather clock
Lists of Sound Effects
4 Gusty wind in bushes.aiffHawk Cries.wavAlarm Clock, Ticking.mp3heartbeat.mp3Special Effects
Special effects (SFX) are visual illusions or techniques used in film making, television, and other media to simulate events or create visual interest. They can be either practical, meaning they are created on set using physical techniques like makeup and props.
Snow SFX
Artificial snow achieves an amazing resemblance to the real thing by producing a carefully selected and specially treated co-polymer film, which is shredded to produce flakes of a similar size, density, colour and opacity to real snow flakes. This fake snow is fired out by foam-based snow machines and is the most widely used type in the entertainment industry. These machines create a snow-like effect by spraying a special snow fluid into the air, which turns into a foam upon release. Foam snow machines are ideal for creating a consistent, controlled snowfall in both small and large spaces. Snow special effects (SFX) can present various safety risks, primarily concerning the materials used to create the effects, including potential hazards from chemicals, dust, and trip hazards. Additionally, snow SFX can also potentially create visual distractions. Some artificial snow may be made from chemical mixes that can cause skin and eye irritation, or pose risks from ingestion. Shredded paper, plastic, or foam used for artificial snow or confetti can generate dust that can be a fire hazard and cause respiratory or eye irritation. Snow, confetti, or foam can create uneven surfaces and tripping hazards, especially if not cleaned up promptly.
Foley/ Sound SFX
Foley is the process of recreating everyday sounds that are added to films, videos, and other media in post-production and it is when you use a variety of props and techniques to create sounds like footsteps, waterfalls or boots walking through snow. Foley artists meticulously mimic actions and movements on screen by watching the film footage and recreate sounds that are either missing or need improvement from the original recording. This can include footsteps, door creaks, the swishing of clothing, or the sounds of objects being handled. These sounds are then incorporated into the final audio mix to enhance the realism and immersion of the viewing experience.
The risks for sound effects during live performance is if the audio isn't managed correctly and is at a high volume, it can damage people's hearing and if this happens multiple times, it can lead to hearing loss caused by the loud noises and once you lose your hearing, it can't come back. Damage can cause loss of hearing ability and people may also suffer a permanent sensation of ringing in the ears, known as tinnitus. Hearing loss caused by exposure to loud noise continues to be a significant occupational disease. Up to 17,000 people in the UK suffer deafness, tinnitus or other ear conditions as a result of exposure to excessive noise. Factors that contribute to hearing damage are noise levels and how long people are exposed to the noise, daily or over a number of years. The most efficient and effective way of controlling noise is by technical and organisational means that protect people at source, eg changes in process, reducing vibration and reducing time spent in noisy areas.
Pyrotechnics
Explosions, flashes, smoke, flames, fireworks and other pyrotechnic-driven effects used in the entertainment industry are referred to as proximate pyrotechnics. Proximate refers to the pyrotechnic device's location relative to an audience. In the majority of jurisdictions, special training and licensing must be obtained from local authorities to legally prepare and use proximate pyrotechnics. Many musical groups use pyrotechnics to enhance their live shows. Pink Floyd were innovators of pyrotechnic use in concerts. For instance, at the climax of their song "Careful with That Axe, Eugene", a blast of smoke was set off at the back of the stage.
Pyrotechnic SFX carry significant risks including fire, explosions, loud noises, and potential injury to performers and audience. These effects can also disrupt stage structures and equipment. Proper planning, risk assessment, and trained personnel are crucial to mitigating these dangers. Pyrotechnics involve combustion and can ignite flammable materials, causing fire and explosions. Loud bangs and pressure waves from pyrotechnics can cause hearing damage, panic, and shock to those present. Exploding pyrotechnic devices can send out fragments and projectile debris, posing a risk of injury. Smoke and chemical mists can cause disorientation, toxic effects, and potentially trigger panic. Pyrotechnics generate high temperatures, and contact with sparks or flames can cause burns.
Acoustic factors
Starting off with the creation of energy of the sound itself, once the air from your lungs gets pushed into the vocal cords, it is then compressed into a sound for people to hear. Sound in itself reacts with the environment, depending on what the environment is. The sound energy is transferred between air molecules and bounces around which is how sound travels and it eventually drops off after time. If I were to shout to a person from 4 feet, they would be able to hear it easily but they would barely hear a thing if they were a mile away because the energy is gone.
The acoustic factors of a room can affect how sound is heard, so the first room that I recorded in was the theatre which is a very large room and had hard material all around the room. The reason for this is because of the air molecules bouncing from each hard surface and have no where to go so they bounce around, creating an echo until the molecules die out. Since the room was also large, the air molecules have a longer journey to the hard surfaces and do not absorb much energy. However, to get past this problem, I use the curtains in the room to wrap myself in them for voice recording because the curtains are made out of a soft material which makes it very absorptive and traps the molecules from hitting the hard walls and not creating as much of an echo as before.
The other room that I recorded in was the recording studio which has sound proofing all over the walls, carpet on the floor and because the sound proofing is made out of foam, the sound gets mostly absorbed and doesn't bounce around as much. Since the foam has multiple sharp edges, the molecules then split off into multiple different directions which helps the molecules dissipate much quicker.
Another acoustic factor is the shape of a room because if you are in a square shaped room, the sound will bounce off the wall and ceiling in a straight line but if the room has lots of corners or has a triangle shape, the sound will keep bouncing off the walls and create even more of an echo.
Technical Equipment
To be able to start recording for my vocal portfolio, I had to learn what equipment I would be using to record myself with. To start off, I had to get a mic stand which had sound proofing behind the microphone in a semi circle, the microphone I used was a AT 2050 which is a condenser type of microphone. Condenser microphones are used in the studio where their superior frequency and quick response are great for capturing clean, high-fidelity recordings that are true to the sound source. In front of the microphone was a pop filter which is a mesh or fabric barrier used in front of a microphone to reduce or eliminate the "pop" or "thump" sounds when pronouncing "p", "b", "t", etc. When speaking or singing. It works by dispersing the air pressure, preventing it from directly hitting the microphone and causing the unwanted noise.
I then had to make sure that the microphone is plugged into the audio interface, Scarlett 2/2 USB, which is a device that connects your computer to musical instruments, microphones, and other audio equipment, allowing you to record, play, and process sound with your computer. To turn the microphone on, it needs 48 volts of phantom power which is designed to power microphones without using bulky external power supplies such as the ones required for tube microphones.
The Anatomy Of Voice
In this section, I'm going to be talking about how the voice is created inside the body.
The first muscle that I'm starting with is called the diaphragm, which is below the lungs and it is a shelf of muscle and tendon that extends across the bottom of the rib-cage, dividing the torso in two and it also expands the chest cavity. The diaphragm is a key organ in the process of enhancing the voice and that it involves taking deep breaths to support your voice with greater control, projection, and vocal health, rather than relying on shallow, throat-based breathing. To breathe while using your diaphragm, you have to inhale deeply through your nose, allowing your stomach to expand while keeping your chest relatively still and then exhale slowly through your mouth, engaging your abdominal muscles to gently push air out.
Moving onto the larynx, the larynx is in the middle of your neck, just above your trachea (windpipe) and your oesophagus. The larynx is divided into three parts: supraglottis, glottis, subglottis and they all have different types of cartilage, muscle, ligaments and membranes to help keep them working but only your glottis contains your vocal folds.
When you take in oxygen through your nose and mouth, your larynx funnels it down to your trachea and to your lungs. The trachea branches in two to form the bronchi. Each bronchus continues to branch out into bronchioles until, at the end of each bronchiole, a cluster of alveoli, which are small sacs where gas exchange of carbon dioxide and oxygen takes place, is reached. As the ribcage and diaphragm move, the lungs are stretched, drawing air into the lung (inhalation), or the lungs are compressed, pushing the air out (exhalation). The rib cage is used to protect the lungs and allows room for the lungs and other muscles in the chest to expand and contract. The abdominal muscles then help expel air from the lungs and towards the vocal folds which causes them to vibrate by the coordinated action of the diaphragm and rib cage.
Often mistakenly called the diaphragm by singers and by some teachers, the abdominal muscles are used to "support the breath" or when they stretch as the belly distends due to the action of the diaphragm. The deepest of the abdominal muscles, the transversus abdominis, they are very important in respiration, and are probably instrumental in forced exhalation. The external obliques are the largest and strongest abdominal muscles. These muscles help with contracting and may flex or twist the spine. By compressing the abdomen, these muscles create higher pressure in the abdomen and chest which is essential for forced expiration. Also, by relaxing these muscles, you can easily feel the action of the diaphragm. Sandwiched in the middle between the external obliques and the transversus abdominis are the internal obliques. Their direction is the opposite of the external obliques. They can be used to compress the abdomen for exhalation.
When vocal folds vibrate, it starts the sequence of the vibratory cycle. The vibratory cycle occurs repeatedly and starts when a column of air pressure from the lungs opens the bottom of the vocal folds, the column of air continues to move upwards, now opening the top of vocal folds. The vocal folds 'chop' the air stream up into a series of rapid 'puffs' that create the sound. The closure of the vocal folds cuts off the air column and releases a pulse of air, starting a new vibratory cycle once again.
Articulation And Posture
Articulation And Posture
The rapid pulses of air created by repeat vibratory cycles produce voiced sound, described as a buzz-like sound which then goes up into the pharynx (throat) to be amplified and modified by the vocal tract resonating system that includes the mouth and nose, creating a voice. The vocal tract articulators, which involve the tongue, the hard and soft palate, the teeth and the lips modify the voiced sound, producing recognisable words which is called articulation.
The first articulator that I will be talking about is the lips. If you make the sound “aaaaa” then round your lips, the sound of the vowel changes. We can also use our lips to block the flow of air completely, like in the consonants b and p. We also use our teeth to shape airflow. They don’t do much on their own, but we can place the tip of the tongue between the teeth, for sounds like "oooh". Or we can bring the top teeth down against the bottom lip for f and v. If you put your finger in your mouth and tap the roof of your mouth, you’ll find that it’s bony. That is the hard palate. English doesn’t have very many palatal sounds, but we do raise the tongue towards the palate for words such as dog. Now from where you have your finger on the roof of your mouth, slide it forward towards your top teeth. Before you get to the teeth, you’ll find a ridge, which is called the alveolar ridge. If you use the tip of the tongue to block airflow at the alveolar ridge, you get the sounds t and d. We also produce l and n at the alveolar ridge, and some people also produce the sounds s and z with the tongue at the alveolar ridge. When we block airflow in the mouth but allow air to circulate through the nasal cavity, we get the nasal sounds such as m and n.
An important part of voice production is the alignment of the head, neck, shoulders, pelvis and spine. Good posture is crucial to allow the diaphragm to move freely, enabling deeper and more controlled breathing, which is essential for vocal support. The way this can be improved is by standing or sitting up straight and maintaining the natural curve in your spine, avoiding excessive arching or rounding for a long period of time. Your shoulders should be relaxed and aligning with your hip bones to avoid slumped shoulders, ensure your shoulder blades are not pulled towards each other, as this can create tension. You should also avoid slouching or hunching your shoulders, which can restrict breathing and vocal freedom. Your head should sit in a neutral position on the top of your spine, not jutting forward or tilting back. Keep your jaw relaxed, not clenched. The neck should be tall and straight to push your head up, facing outwards. Avoid pushing your chin forward or tucking it too deeply into your chest. In a neutral posture, your head should be aligned with your spine, and your ears should align with your shoulders. Proper alignment reduces strain on your neck and shoulders, minimising the forces and stress on the vertebrae, discs, joints, and muscles in the neck. Misalignment can impede nerve pathways, leading to pain, restricted movement, and even affecting other bodily functions. Avoid excessive forward or backward tilting of the pelvis.
This allows for better vocal tract openness because slouching and poor posture constrains the vocal tract, making your voice sound quiet and strained but when you use the correct posture, it helps maintain the flow of sound through the vocal tract, which is crucial for achieving clear and resonant vocal tone, improving resonance and clarity when you speak. Good posture also reduces vocal strain and improves vocal endurance, allowing you to talk longer and raise your voice without shouting. Poor posture can lead to unnecessary muscle tension in the neck, shoulders and jaw, which can create vocal strain, restrict airflow and lead to vocal fatigue or even vocal problems.
Vocal Tone
Tone in communication refers to the emotional character or attitude that is conveyed through the modulation of your voice. It plays a crucial role in interpreting the speaker’s intent and can significantly affect the listener’s understanding and response. A speaker’s tone can convey a range of emotions, from enthusiasm and compassion to indifference and hostility, often leaving a greater impact than the actual words spoken. The correct use of tone can enhance the effectiveness of communication by adding clarity, creating rapport, and evoking the desired response from the audience. Conversely, a tone that is inconsistent with the message can lead to confusion and misunderstanding. To create a rich vocal tone, you need to learn how to breathe using your diaphragm. Doing this will help you control your voice, giving it the power and support it needs so that you can hold a longer note, raise your volume easier, have smoother transitions between phrases and not run out of breath so quickly.
You also need to maintain a relaxed and balanced tension in your vocal folds so that they can vibrate efficiently to produce a clear, strong, and resonant sound. If there's too much tension, the voice can sound strained or tight. If there's not enough tension, the voice can sound weak, breathy, or airy. Stress and anxiety can lead to muscle tension, affecting vocal balance. The way to fix this is to avoid overusing your voice, make sure you are relaxed and calm before attempting any type of using your voice and using diaphragmic breathing.
Another good way to improve your vocal tone is to have good posture such as standing tall with relaxed shoulders to allow for efficient breathing and ease of use with vocal volume and clarity. Since I am a user in a wheelchair and can't stand up, the way I can use the correct posture is by sitting up straight and letting my shoulders rest, raising my head up which allows for my voice to become loud and clear. It also helps to maintain a relaxed jaw, throat, and tongue to avoid tension that can hinder vocal tone and so that you can use projection and allow for natural vocalisation.
Volume and pitch are very important with vocal tone because volume is essential for projection and vocal dynamics which allows for singers to express a wider range of emotions and create contrasts in their performances. For example, a quiet, soft voice can convey intimacy or vulnerability, while a louder voice can express excitement or anger. The way volume is produced in the body is by an increase in airflow blowing vocal folds wider apart which stay apart longer during a vibratory cycle – thus increasing amplitude of the sound pressure wave.
Pitch, the perceived frequency of your voice, can dramatically alter the emotional content of your words. High pitch levels often signify excitement, urgency, or anxiety, while a lower pitch might be associated with seriousness, calmness, or authority. When emotions are involved, subtle variations in pitch can convey a wide range of feelings and attitudes, providing listeners with cues to interpret the speaker’s intentions and emotional state. For instance, a sudden rise in pitch can indicate surprise or questioning, whereas a decrease can suggest disappointment or sadness. By learning to adjust it appropriately, speakers can enhance their ability to express emotions authentically and connect more deeply with their audience. The way pitch is created in the body is by an increase in the frequency of vocal fold vibration that raises pitch. The more cycles per second, the higher the pitch is.
Vocal exercises
Voice problems that I want to improve on - articulation and pronunciation, so that my words are clear and easy for an audience to follow.
With articulation, i was told that i need to say my "th's" instead of "f's" e.g. There, not "fere" or "vere" using my tongue and teeth correctly
With pronunciation I have a list of words that i need to check that I know how to say before i record any voice recordings: Sagacity, steadily, suppositions, scarcely breathed, gaily, deposited, deputed, breathed, singularly, definiteness and derision.
In a sitting position, my lungs can be compressed and this can affect breathing and how much I can fill up my lungs, so it makes reading longer harder, as I run out of breath quickly. I can fix this by recording in smaller bursts and using the National Theatre breathing and lung expansion exercises to improve capacity - see links below to breathing/ resonance/ articulation etc.
Exercises for improvements
Some exercises that I've learned over the years to help me warm up are humming while going up and down the pitch range to have a smoother voice and to relax the vocal cords. Another warm up that will help with articulation is the tip of the tongue, the teeth and the lips and I usually repeat this 3 to 4 times, increasing with pitch with every time you say the phrase. The next warm up is saying all the vowels - a e i o u with very exaggerated expressions of the mouth to stretch your mouth out to help with articulation.
https://www.youtube.com/watch?v=Tc-_hoG4nec&list=PL826FE26DB872DA9E - Breathing vocal warm up
Start off by grabbing both hands and bring them above your head, behind your back and then hold them towards the floor to open up the rib-cage to let your organs have the space they need for breathing. However, since i can't bring my arms above my head, I push my arms forward and breathe out. I struggle with putting my arms behind my back, I'll put them down by my sides and bring my arms as low as they will go.
Next, you then flop over from above your waist, letting your arms hang over and bounce a little to shake your organs out and then focus your breath into your belly and back to feel the rib-cage opening up, then slowly come up while breathing out.
For the final exercise, you need to do three long breath releases with the letter S. Starting off with a deep inhale, you then breathe out while sounding the letter, S to feel the organs in your chest area.
https://www.youtube.com/watch?v=uRdFtrv2yGA - articulation vocal warm up
To start off this warm up, move your mouth, tongue and lips around while isolating your neck. You then want to stick the tip of your tongue out and point with it and then flatten it, repeating this process multiple times. After that, make small circles with your tongue and then bigger circles around your lips. Say the letter D over and over to get the tongue working, then do the same with the letter T.
Consistent practice is essential for developing your voice further. Another good tip to use for improving is to record your voice and listen critically to identify areas for improvement.
Video of Vocal warm up
Vocal Portfolio
Tom.mp3Tell Tale Heart
Calls and dinner Tom and Faith 13.37.m4aCalls and Dinner - Murder Mystery
Marullus.m4aMarulluss Verse from Julius Caesar
Strengths and weaknesses in the performance of my voice recordings:
Tell Tale Heart- Edgar Allen Poe
My articulation and volume need work. I also need to work on the clarity of my diction and make sure that I practice the script over and over and check that I am clear on the pronunciation of all words that I am not sure about.
I had good feedback from the recording studio technician. He said that I had good emotion in my voice and that it immersed the listener. He said that I was bringing the audience along with me. I want to keep developing this skill.
I will do this by making sure that I analyse the material in the future and prepare and rehearse for the performance as I would if i was on stage and do multiple takes of each section, so I can edit together the best version. Time management is key to this, as I took too long to get started and I need to focus on one job at a time and work more orderly.
Feedback of my process for the entire project
I was slow at getting getting started with the recording equipment and I needed to have more confidence to run the equipment myself. I eventually did and was able to run a recording system in the theatre through the Mac and garage band, using condenser microphones with a pop filter with portable soundproofing booths. I was able to then run a similar system in the recording studio, so I feel confident enough that I can run both and work independently. However, I found it difficult to hold a script and record my voice because holding the script is difficult for me as I can't hold my arms up for very long. I was also worried that the script would make noise (if I knew the script well, this might help). I also had a challenging time moving between the recording studio and the production booth, so I definitely need to work with someone if I am recording in a studio. I would like to in future do more voice recording and use the Garage band system with more confidence. It would suit me better to learn more of how the recording studio equipment works and pro logic software. I would also like to do more sound fx in recordings to set the scene and to get the right sound effects for what I am doing. I would like to start to build my own database of sounds for future recordings so that I don't have to ask lots of people for help. I would also like to be more independent with dropping sound FX into my voice recordings and working out correct levels of sound and EQ.
https://voicefoundation.org/health-science/voice-disorders/anatomy-physiology-of-voice-production/understanding-voice-production/
https://my.clevelandclinic.org/health/body/21872-larynx
https://speechneurolab.ca/en/production-de-la-voix/
https://www.nature.com/articles/s41598-020-77216-6/figures/1
https://www.singwise.com/articles/anatomy-of-the-voice
https://ecampusontario.pressbooks.pub/essentialsoflinguistics/chapter/2-3-articulators/
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